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\\ . ' I 

I / i . ' : I 

The Staff takes this opportunity to express its 
gratitude to those who contributed unselfishly 
of their time and effort to the making of this, 
OPUS I, a success. Special thanks are due Mrs. 
Lois Lautner for her duties as official chairman 
of headaches; Miss Wilma Thompson, without 
whose help much of our material would have 
been unavailable, and to Miss Ada Bicking, who 
gave us the unfailing cooperation of the Con- 
servatory Administration. 

The Baldwin organization wishes to congratulate The 
Arthur Jordan Conservatory on this, your first Year Book. 
We wish you as a group and individually the success you 
so richly deserve. Baldwin Piano Salesmen. 

n K 


Europe, for centuries the world center of culture and art, 
is dying. To us she has thrown the torch that she has kept 
burning with such love a/id care. To the future of Art in 
America, to the free Art practiced by a free People, ive 
dedicate OPUS I. 

Stcuid'nig: Vickcry, Shainhcui;^b, Xinkcui, and Jacobs. 
Seated: Holzbaiiscn, Scoff, Riifan, and Osier. 


Sam Scott, Editor in Chief 

Robert Shambaugh, Copy Editor 

Jean Vickery, Art Editor 

Don Holzhausen, Business Manager 

Verne Jacobs, Advertising Manager 

Carl Dawson, Assistant Advertising 

Paul Harder, Assistant Advertising 


Mercedes Banks 
James Bowers 

Kenneth Hughes 
Herbert Kaiser 
Joe Lewis 

Virginia Ludwig 
Kathryn McCain 
Thomas Norris 
Suzon Osier 
Ann Snedegar 
Betty White 
Joe Zinkan 


This composition is written in four movements. The first movement, marked 
Allegro Moderato, follows a short Introduction outlining the organization of the 
whole. The first movement, rather formal in style, begms with a vocal theme. 
The formality of this theme is relieved, after its statement, by an amusing 
variation of the same subject. This is followed, after a transition passage taken 
by the small instrumental ensemble, by an instrumental theme. This portion is 
also followed by a variation in the same style. 

The second movement, marked Andante Cantabile, is lyric and expressive in 
character. It is simple in construction and easy to understand. 

The third movement. Scherzo, is a gay, fast-moving dance-type composition. 
It presents a variety of developments of the same theme, namely. The Spice-of-Life 
at Jordan. We warn you, however, that the impressions lent by this movement 
are for amusement purposes, and are not to be construed as authentic. 

The fourth movement, devoted to the academic phase of Jordan, is marked 
Maestoso. In it we find the honorary societies, and the Junior and Senior Class 

May we hope that you will enjoy our first venture into the field of composition, 
and that you will be on hand to get your copy of OPUS II next year. And now 
into the Introduction ... 

View of the Dclauare Street Campus. 

The Odeon. 

The broad and ever-expanding program of Jordan Conservatory was builded 
upon a philosophy of Music as an exalting influence in the individual and group 
life. The amalgamation of the Metropolitan School of Music and the Indiana 
College of Music and Fine Arts b)' Mr. Arthur Jordan in 192 8 was dedicated 
to that concept. In accordance with the plan to develop the most outstanding 
conservatory of music and allied arts in the middle west, the Arthur Jordan 
Conservatory of Music was organized and incorporated not for profit. The envi- 
able traditions of the parent institutions have therefore not only been maintained 
but greatly extended. 

The Conservatory is affiliated with Butler University, a member of the North 
Central Association of Secondary Schools and Colleges, is an institutional member 
of the National Association of Schools of Music and holds standard accreditment 
from the Indiana State Department of Public Instruction. 

The physical facilities have been avigmented. The Administration and Delaware 
campus buildings, the Student Hall, the Library, the Benjamin Harrison Memorial 
which is the dormitory for women students, the North and Irvington Units are 
visible evidences of the growth and stability of the institution. The faculty 
numbers eighty-five artists of national and international reputation. The courses 
of study have been enriched. The Conservatory grants baccalaureate and masters 
degrees and the Conservatory and University confer joint degrees. 

To many more achievements — the Philharmonic Choir, the Conservatory 
Orchestra, the vocal and instrumental ensembles, the Departments of Applied 
Music, Theory, Music Education, Dramatics, Speech, Radio, Language, and Dance 
— your Alma Mater points with justifiable pride. 

Conservatory Direcr'oi 

Student Conference 
with the Director 




Piano Dcparhnciir. 

Stainlin;^: Lewis, Nassiiik, Wisbard, Zoni, Pierson, LmdstacJt, Oiii^^, 
Pruitt, Joties. ~ 

Sea fed: Mirovitch. 
Not present: B. Broun, V. Jefry, Kolmer, Warner. 

Woodwind Dcpartnnut. 
McGuire, Hosiner, Michel is, Fitzgerald, Bcilfnss. 
Not present: Kellhcrg, Riley. 



Ediicat'icu Departmcut. 
Standing: Wright, Norris. 
Seated: Mossnum, B. Broun, Wagner, Coffin. 

Theory Dcpartiucui . 
Sfandin;^: Walker, Pbclps. 
Seated: /. Laittiier, L. Laitluer, Wooth 



7it5t Aioi^ement: -fllle^to Aiodetato 



Students return on the third. Instruction begins ten days hiter. Student Council 
election on the twentieth. New officers: President, Joe Zinkan; Vice-President, 
James Bowers; Secretary, Mary Spalding; Senior Councilman, Mary Louise 
Houk; Junior Councilman, Dick Foster; Sophomore Councilman, Kenneth 
Hughes, and Freshman Councilman, Joe Lewis. Receptions were held for the 
new students by the campus organizations. Alfred Mirovitch began his Lecture- 
Recital Series, and the Conservatory Symphony held auditions. 


Freshmen were initiated and feted at a dance at the Odeon. Reception of women 
students at Dormitory. The Alumni dinner was held on the twenty-fourth at 
the Athenaeum. Placement exams. Six week's exams. Hallowe'en celebrated 
with a party at the Dormitory, a dance at the Odeon, and a weiner roast and 
scavenger hunt. 


Drama Department began their 1940-41 series of productions. Philharmonic 
Choir sang in Evansville and Petersburg. Symphony and Martens seasons got 
under way. SAI, Mu Phi, and Sinfonia joined in holding a Noel Feste. Thanks- 
giving vacation began on the twentieth. Second six weeks' exams, followed 
by a dance on the twenty-ninth at the Odeon. 


The annual Conservatory reception at the Harrison Home. Richard Niessink's 
and Leon Zawisza's recitals at the World War Memorial. The Christmas Con- 
cert at the Murat on the seventeenth. This was followed by a half-hour broad- 
cast. The Matinee Musicale-Mannerchor presentation of the Messiah on the 
twentieth. The Jordan Opera Orchestra provided accompaniment. Christmas 
vacation. Sinfonia and Student Christmas formals. 


The Philharmonic Choir sang in Anderson, Indiana, broadcast The Fall of the 
House of Usher, by Clarence Loomis, and presented the same work before the 
American Opera Club in Chicago. Ernest Friedlander presented his recital at 
the World War Memorial. First semester ended January twentieth, and the 
second semester began on the twenty-ninth. Lynne Wainwright gave her 
recital at the World War Memorial. 


Recital by members of the woodwind faculty was given at the World War 
Memorial. Soloists were Herman Beilfuss, James Hosmer, and Clyde Miller. 

Studcut Council 

Standiug: Lcnis, Hughes. 

Seated: Honk, Bowers, Spalding, Zinkan, Foster. 

They were assisted by Lynne Wainwright, Harvey McGuire, and Sam Scott. 
A Paderewski Memorial recital, under Joseph Lautner's direction, was given on 
the twenty-second. Virginia Leyenberger appeared in recital at the War 


Richard Niessink presented a Lecture-Recital at the Odeon. His lecture subject 

was, "The Diabelli Variations by Beethoven." 


Carl Dawson gave his graduation composition recital, which included his 

operetta, "Cinderella." The Harp Ensemble appeared at War Memorial. Other 

recitals were presented by Mary Louise Houk, harpist, and Dick Foster, oboe, 

the Student String Quartet assisting him. 

-The Second All-American Music Festival was held May 5-8. Three concerts 
were given at the Odeon, and an orchestral-choral concert was presented at the 
Murat Theater. The Philharmonic Choir left on their tour of eastern states. 
Final examinations began. Joe Lewis, John Detroy and Kathryn McCain pre- 
sented recitals. 


Mary Reynolds presented her Junior recital. The Spring Formal Dance was 
held on the third. Commencement on the sixth. The Band Clinic from the 
ninth to the fifteenth. Summer Classes began on the ninth. 

In addition to these activities, the Radio Department presented the Jordan 
Workshop over Radio Station WFBM weekly. The Drama Department presented 
numerous programs, as did the various ensembles. Dances and parties were held 
with unfailing regularity. Only our limited space prevents our mentioning each 


First ron: Lmlu;;^, Gnriic, Locriz, Spencer, Mahler, Scbaefer, Dillhig, 
Rheinbardt, Seifz, Henderson, Honk. 

Second row: Herzig, Bos, Baker, Jones, Miller, Broun, Myers, Tyner, 
Muegge, Snell, Magee, Harris. 

Third row: Barton, Edington, Harder, Lewis, Arnold, McDowell, Herr, 
Canine, Grand y. 

Fourth row: Wafkins, Nohle, Daniels, Detroy, Patterson, Scihert, Wciwcr. 


First row: Boyle, Ticc, Luna, Spencer, Hegg, Wagner, Spalding, Kedinger. 
Markle, Grabctn, Wilson, Pearson. 

Second row: Albertson, Blackburn, Evans, Stevens, Hughes, Caplinger, 
Harp, Snedegar, Vickery, Watkins, Miller, Roe. 

Tbird row: Bowers, Lyons, Harrod, Sfouder, Mueller, K. Broun, Wetzel, 
Paul, P. Brown, Hicks. 


Professor Joseph Lautner 
Direr for 

The Jordan-Butler Philharmonic Choir. 




(As the outsider knows it) 

We are sure that all of you, at one time or the other, have heard of an organiza- 
tion like the Philharmonic Choir. You have heard that choirs do get up at five 
o'clock in the morning to go on concert trips. You have also heard of choirs that 
give on the average of four concerts a week during the school year and still kept 
up with their studies. But did you ever really see or hear one? That is the kind of 
group we have and a prouder group you will probably never see. They are proud 
of their work, the institutions they represent, and last but not least, their director. 
He is a man for whom the forty-two members of the Philharmonic Choir would 
go to China if the demand arose. He is a man who seems to give them the 
inspiration to sing just by standing up and asking for it. Of course we mean 
Joseph Lautner. 

The choir began this year with a great deal of new music to learn and many 
programs to give. As yovi probably know, all their programs are sung from 
memory, so preparing the first few programs was quite a task. After preparing a 
repertoire of sufticient size for Immediate purposes, they began to build along 
the lines of variety and unusuality. Their average program consists of a group 
of religious music, usually including music of the old Russian school, eight part 
motets, and four part choral anthems. From there they progress through old 
English compositions, and perhaps some Negro spirituals. Their favorites in this 
class seem to be "Deep River," and "OV Arks A'moverin'." The final section of 
the program will probably contain modern and contemporary music. Professor 
Lautner and the choir enjoy doing adaptations of songs of the Kentucky and 
Tennessee mountains, and songs by the contemporary Roy Harris. In addition 
to this material they have an extensive repertoire of music for seasonal and holiday 

To the average person it would seem that this group would not need such an 
extensive repertoire, but you will find that they frequently .give two, three, or 
more concerts before the same audience during the course of a school year. Natvi- 
rally they must be prepared to give them a different program each time. They 
are prepared to sing for different types of audiences, too. They sing for high 
school and grade school auditorium programs, women's clubs, banquets, sorority 
mother's clubs, and formal concerts. In fact, if you will name the occasion, they 
will furnish music for it. In addition to concertizing, they recorded for the 
Butler University program which was broadcast over Radio Station "WIRE every 
Monday evening during the fall semester. They sang on the Butler University 
broadcasts over Station WFBM once each month on Friday afternoon, and they 
gave the world premiere of Clarence Loomis' opera, "The Fall of the House of 
Usher," before the American Opera Society in Chicago. 

The second semester activities of the choir began with several concerts in 
nearby cities, including Mooresville, Greenwood, and Lawrence. They were com- 

bined, in April, with the Crawfordsville Symphony for a concert, and they aided 
in the presentation of Carl Dawson's operetta, "Cinderella," both in recital and 
in broadcast. On Easter morning they added their voices to the many others for 
the Sunrise Service on the Circle. 

The Philharmonic Choir played an important part in the Second Annual Festival 
of American Music. One evening was devoted entirely to American choral music, 
and was under the direction of Mr. Lavitner. Then, on the last evening of the 
festival, the choir was combined with the Butler University Chorus and the 
Conservatory Orchestra under the direction of Fabien Sevitzkv in the presentation 
of Harl McDonald's Choral Symphony. 

The biggest event of the choir's school year, however, is the trip each May 
to the choral festival at the Westminster Choir School in Princeton, New Jersey. 
This year, before arriving at the festival, the choir gave concerts in New York 
City and Philadelphia. From these concerts they proceeded to Princeton to take 
their part in a full schedule of lectures, clinics, and recitals. 

During the month of March this year the members of the choir received an 
unexpected pleasure when, as guests of Mr. Lautner, they traveled to Indiana 
University. There they attended a lecture and received an interview with Dr. 
A. T. Davidson, Ph.D., Mus. Doc, Professor of Music at Harvard University. 

If one were to judge the Voice Department of the Conservatory bv the pre- 
ceding portion of this article, he would undoubtedly conclude that the Philhar- 
monic Choir is the only vocal activity present. However, we hasten to deny this. 
Suzon Osier, Ann Snedegar, Lloyd Patten, Marilyn Redinger, Rosalind Phillips, 
Thomas Norris, and Charmion Harp appeared in recital and demonstrated that all 
the talent at Jordan is not confined to group singing. Mr. Hedley's fine group 
presented selections from American opera on the third night of the American 
Festival. As a whole, our Voice Department is extremely active, and we are 
looking for great things to come from it in the future. 


(As we know it) 

To f/josc u/jo might [wss/bly scan the contents of the folloiving treatise, 
ice should like to state hereby and forthwith that this is definitely not a 
partial requirement toward a Masters, Doctors, Third, or any other degree 
whatsoever. Also, similarity to persons is definitely intended. We solemnly 
declare that any legal action is entirely appropriate, hut useless. — The Editor. 

Our voice department is comprised of several types of students, namely: (1) 
those who intend to put Flagstad and Tibbett on the ^\ P. A., (2) those who 

are learning to sing "Passing By" so that they can exalt the lives of our next 
generation (pour souls) by thrusting or, rather, teaching it to them, and (3) 
simply those who . . . the unmentionables. 

No matter what your vernacular, after you have undergone a prescribed num- 
ber of sessions with your alleged teacher, it is considered your privilege to perform 
before the examination "bored." Here you are greeted with open arms, occa- 
sionally eyes, and are bade to unleash the lark from your larynx and give vent 
(ilation) to your song. If it is "Caro Mio Ben," don't be surprised if your solo 
is embellished with a humming counter-melody; it has been rumored that the 
voice faculty has become so familiar with this tune that they, when in voice, 
can almost sing it themselves! 

Of course these remarkable talents don't always function alone. Every Monday 
night, while the orchestra is blowing, beating, and bowing under the lashing 
baton of Fabien Sevitzky (fanfare, please!) there is a group of assorted singers 
which holds forth at 1116-4 5, and they are directed by a familiar throbbing, 
effervescent figure. It seems that he has a theory that the room humidity is much 
too low for proper singing, so he proceeds to furnish moisture in abundance. 
However strange this idea may sound, it seems to work; for when the perspiration 
begins to drip from his nose, chin, and ears, and wilt his collar, this passive group 
really does its best singing. Of the personnel much could be said, but we shall 
only comment that this group is the melting pot for every approach to the 
gentle art of singing that has ever been recognized or improvised. There are head 
tones, heel tones, monotones; chest voice, sotto voice, and scarcely voice; C lift, 
G lift, and no lift; termolo, very low, and never low; bass range, tenor range, 
alto range, soprano range, gas range, and lone range; tight throat, white throat, 
and might croak. We sincerely hope that you will join us in giving to the unsung 
valiants of the Monday night choir, 21 guns. A good use for them is obviously 

After climbing the stairs of 1116 until you have long since wanted to give up 
and go back to that job in the grocery store, you might, conceivably, be pro- 
moted to membership in that vocal heaven, the Philharmonic Choir. Never 
before in the history of anything or any place has any group risen to such heights. 
Even the angels are having extra rehearsals in order to maintain their reputation 
of superiority. In the past two years this organization has developed so rapidly 
that it is no wonder it suffers an occasional growing pain or two. After increas- 
ing in activity for the whole school year, the Philharmonic Choir, as you have 
heard by now from all 40 members, took a trip to Princeton and New York City. 
Our unusual Mr. Hickman usually covers the usual side of the usual news, but 
we favor the little items that seem to haunt one's memory. 

The morning of the great exodus had arrived. We are convinced that had 
Columbus had a sendoflF such as our choir had that morning, he would have found 
India and saved America from civilization. 

At first everyone was keyed up as if Princeton were just over the next hill. 
Dear reader ... let me tell you ... we crept up mountains and rolled down 

mountains until our crew began to mumble that Princeton was only a fable or 
a fantasy, and we would awaken in the wee, small hours wailing "Hospodi 
Pomolui." It was hours later that we were pleasantly aroused from our slumbers 
by the dulcet tones of a certain southern accent gathering unto itself another 
group of ardent admirers from the welcoming committee which had congregated 
around the bus. We realized that this must be Princeton, for there seemed to 
be a sad lack of female admirers and an overabundance of stalwart males. 

These are the memories we collected during our first pilgrimage to Princeton. 
If you don't mind, we'll have to organize this year's trip in our minds before 
we begin to reminisce. In the meantime we'll just say that we hope ours will 
someday be mentioned along with the Westminster Choir as one of the greatest 
choral organizations in America. 

Now, dear reader, let's look in on a typical rehearsal of this choir: Call the 
roll, Shambaugh . . . Where's Terry? (telephoning, of course) . . . Get out your 
date books (for concerts) . . . Did everyone bring his music? . . . Take your 
seats, here comes Professor Lautner . . . Quiet, he's speaking . . . "Quiet, please! 
We have a lot of work to do today." (As though today were an exception.) 
"Choir, the concert went pretty well yesterday, but you tenors certainly went 
to pot on that last number. Sopranos, don't eicv slide in this choir! Move with 
precision and don't let those tones wobble, please. Basses, please think your pitch 
before you sing. Altos, why didn't you get that entrance? Choir, why can't you 
look alive at concerts? You look like a bunch of dead fish! Now . . . outside of 
that, the concert was good, but remember, you are an intelligent group, so don't 
make me mention these things again. Now, get oft' the backs of your chairs and 
let's get to work. Rehearsal will be over at five o'clock; and if you aren't tired 
when we're finished, you haven't been singing." 

For every type of concert audience, this marvelous choir has a corresponding 
facial expression. The following comprise the three most frequently used: (1) 
The "Grin and Bear It" or "Tea Time" expression. This is used when one is 
supposed to look like a cherub in a purple robe, and at the same time sing "Jeannie 
With the Light Brown Hair." (2) The "Sanctus" expression is most effective in 
the religious group. The object is to portray emotion with reservation. One must 
project an atmosphere of exaltation, humility, or reverence simply by using the 
eyes. These subtle changes of mood are difficult under even the best of condi- 
tions, and it doesn't help a bit when a blonde is seated in the third row! (3) The 
last expression is the "Groove" or "Even We Enjoy This One" expression. The 
mood of the whole group takes a definite change for the better and even the 
bass section begins to show signs of life. It's reserved for numbers like "Sourwood 
Mountain," and "Modern Roundelay," and is usually seen during the last few 
moments of a concert. 

We hope that this little dissertation has given you an inside glimpse of our 
Voice Department, and if we had been able to impress upon our journalistic col- 
leagues the advantages of asbestos paper, we might have said much more. If 
anyone wishes further information, the authors of this article will be glad to 
receive visitors. (Just ask the keeper for an appointment.) 

Sight Rcciiling Class. 
Sianding: Hcrr, Daub, Mavklc, Jones, Liimi, Miller. 
Seated: Edingtoii, Suadeiier, Banks, Harrod, Pacini. 

Cello Ensemble. 
A. Wissell, Dilling, 
Schellschmidt, . 
P. Wissel, Seehausen, 
Walker, Whitehead, 
Cnnnrine, Ruber. 

String Quartet: McCain, Ludwig, Seitz, Miller. 

Wo(jcluiinl Oiiintet: joins, Wcimvv, McDoucIl, Elleubcvgcr, Foster. 




Clarinet Quartet: Jacobs, Pearson, Broun, Evans 


The instrumental program for the year was initiated early in the semester when 
auditions were held for placement in the conservatory orchestra, and on Monday 
evening, October 6, 102 Jordan students met at the Odeon to renew old ac- 
quaintances and to begin another year of intensive, but enjoyable study under 
Fabien Sevitzky and his assistant, Leon Zawisza. Full orchestra rehearsals were 
scheduled for Monday evenings, and sectionals were to be held on Wednesdays 
and Thursdays. 

Contrary to the practice in former years, the first part of the year was spent 
in reading the works of old and new composers. Thus, for the first time, the 
students gained familiarity with a more extensive body of literature than had 
previously been possible. 

Serious study of the numbers to be presented on the mid-year concert was 
begun in the early part of November. After several weeks of intensive and 
detailed rehearsing, the orchestra gave its first concert of the year at the Murat 
Temple on Tuesday evening, December 17. Opening this program was Glinka's 
gay overture to "Russian and Ludmilla." Then followed the first two movements 
of Mendelssohn's Italian Symphony, which was succeeded by Mozart's flowing 
and lyric concerto for flute and harp. This delightful number was brilliantly 
played by James Hosmer and Lynne Wainright, members of the Conservatory 
faculty and solo artists with the Indianapolis Symphony. Leon Zawisza made 
his first public appearance in the capacity of conductor with the Jordan orchestra, 
directing the Mozart. Following intermission came a contemporary American 
suite, "Peter Pan and Wendy," conducted by the composer, Dr. Hugo Grimm 
of the Cincinnati Conservatory of Music. Completing the program was the uni- 
versally loved Nutcracker suite, conducted by Mr. Sevitzky. 

After the concert the Conservatory Symphony broadcast a half-hour program 
over Station WIRE; playing the overture of Glinka and the Nutcracker suite. 
A short Christmas message from the Conservatory was given by Miss Ada Bick- 
ing, director of the Conservatory. 

The concert and broadcast was attended by a capacity audience whose response 
marked the performance as highly successful. Inspired by this enthusiasm shown 
by the music lovers of Indianapolis, the orchestra again started rehearsals in 
preparation for the concert to be given in the spring. 

In the meantime, the Conservatory Opera Orchestra under the direction of 
Mr. Joseph Lautner had been rehearsing with the Matinee Musicaie Chorus and the 
Indianapolis Mannerchor, and on December 20, these two musical organizations 
presented Handel's great oratorio, "The Messiah." The full accompaniment was 
played by the Opera Orchestra. It is not without pride that we note here that 
although this was the second year that "The Messiah" has been presented in 
Indianapolis at Christmas time by these groups, it has already become a tradition 
and a regular feature of the holiday season. 

A new and stimvdating feature of the instrumental program of the year was 
the class in Orchestral Sight Reading under the supervision of Mr. Renato Pacini, 
an artist-teacher of violin at the Conservatory and assistant concertmeister of 
the Indianapolis Symphony Orchestra. This class met weekly in the Student Hall, 
and students enrolled spent the entire year in reading the works of Haydn, 
Mozart, Beethoven, Dvorak, and many others, thereby broadening their acquaint- 
ance with the great storehouse of music literature that is the foundation of 
competent orchestral performance. 

Returning from the Christmas vacation, the students and faculty members of 


Charles Munger 


K ^i 

The Con sen atory Band. 

the instrumental department began to make plans and preparations for the series 
of instrumental soloists and ensemble groups to be presented in Indianapolis and 
surrounding communities during the second semester of the school year. 

A recital by members of the woodwind faculty initiated the new semester. 
Soloists were James Hosmer, flute; Herman Bcilfuss, bassoon, and Clyde Miller, 
French horn. They were assisted by Lynne Wainwright, piano; Harvey McGvxire, 
oboe, and Sam Scott, clarinet. The program opened with the "Serenade for Wind 
Instruments," by Karl Hoyer, played by the quintet. Then followed solo and 
trio numbers by Mr. Hosmer, Mr. Beilfuss, and Mr. Miller. The program was 
concluded with three short ntimbers by the quintet. Miss Wainwright received 
special recognition when the quintet played "Pastoral," her composition, as an 

On the twenty-second of February a concert was given at the Odeon in honor 
of Ignace Jan Paderewski. This concert, under the direction of Joseph Lautner, 
was given as a contribution toward the National Paderewski Testimonial to 
honor this great pianist and composer. Excerpts from the composer's works were 
played by Imogene Pierson, Renato Pacini, and Richard Niessink, members of the 
Conservatory faculty, and by Rosalind Phillips and Joseph Lewis, students. 

The Odeon again was the scene of a recital on the twenty-sixth of February 
when the Student Woodwind Ensemble, directed by James Hosmer, presented 
a diversified and highly enjoyable program. Those students taking part were 
Eleanor Ellenberger, Beth Ann Brown, Vincent Stouder, Lorene Markle, Nellie 
Jones, Sidney Flack, Jean Graham, Gail Weimer, Carol Meidema, Richard Foster, 
Pat Rheinhardt, Paul Harder, Paul Mueller, Paul McDowell, Robert Evans, Verne 
Jacobs and Pat Pearson. A Rhapsody for clarinet quartet, composed by David 
Bennett, received especial acknowledgment from the audience. On the fifth of 
April several members of this group journeyed to Seymour, Indiana, where they 
appeared before an assembly of high school musicians who had convened to par- 
ticipate in the Central Indiana Solo and Ensemble Contest. 

Scheduled to appear early in April, the Conservatory Harp Ensemble, under 
the supervision of Lynne Wainwright, played before the student body of the 
high school at Columbus, Indiana, They were heard, also, by the Columbus 
Chamber of Commerce. Two weeks later, on the second of April this same 
ensemble, composed of Mary Louise Houk, Mary Spalding, Mari Wagner, Jeannette 
Robbins, and June Flaig, appeared in concert at the World War Memorial Audi- 
torium, and was heard by a large and appreciative audience, whose response 
marked the program as one of the high lights of the year. 

During the latter part of the school year several faculty members presented 
their advanced students in recital. Among these were students of Renato Pacini, 
violinist; Mary Reynolds and Kathryn McCain, violinists, students of Hugh Mc- 
Gibney; Richard Foster, oboist, student of Harvey McGuire. Mr. Foster was 
assisted by a string quartet composed of Kathryn McCain, Virginia Ludwig, 
Betsy Seitz, and Doris Miller. 

On the twenty-fifth of April an operetta, composed by Carl A. Dawson, was 
presented at the Odeon by the Conservatory Philharmonic Choir and the Opera 
Orchestra. Mr. Dawson is a student of Norman Phelps, instructor in Theory and 
Composition. Dawson's work, skillfully composed and interestingly orchestrated, 
proved such a success that on a later date it was broadcast from Radio Station 

The major instrumental program of the year was brought to a close during 
the week of May 5 to 12, with the presentation of the American Festival 
Program. This annual event, now in its second year, was initiated by Fabien 


Fabien Sevitzkv 

for Jan Syiii phony and Chorus 

'^ (^ O ^ "5 ^ S» 


Sevitzky in accordance with his reputation as one of the foremost champions 
of American music. It might be of interest to note that the Indianapohs Sym- 
phony rated highest in the performance of American music among the orchestras 
of the country. They played 17.3 per cent of all American music performed. 

After three evenings devoted to chamber music, opera, choral compositions, 
and solo performance, the festival was brought to a fitting climax in the final 
concert given at the Murat Theater and conducted by Mr. Sevitzky. In addition 
to the portion of the program conducted by Mr. Sevitzky, a high light of the 
evening, both for the orchestra and the audience, was the presence of one of the 
outstanding present-day composers, David Van Vactor, who conducted the 
orchestra in his own composition. Marie Zorn, outstanding member of the Jordan 
Piano Faculty, needed no introduction to the audience. They remembered all to 
well her performance when she played the Hadley Concertino with the orchestra 
at Christmas, 193 9. Miss Zorn demonstrated that she has lost none of the bril- 
liant technique and superb musicianship that marked her previous appearance. 
Her flawless playing was greeted with an ovation which indicated that the audi- 
ence appreciated fully the quality of the work and the interpretation which she 
gave them. 

Van Vactor's "Overture to a Comedy," fairly sparkling with wit and humor, 
and Dubensky's "Variation on Stephen Foster Themes," familiar to and loved by 
all, helped to fill out a well-rounded program that would have pleased the most 
critical audience. 

Harl McDonald's Choral Symphony, performed by the orchestra and a com- 
bined chorus of three hundred voices, brought the evening's performance to a 
perfect climax. 

This final concert of the year proved to be, perhaps, the most successful ever 
to be given by the orchestra, and the enthusiastic response shown by the audience 
served as a motivation to high aims and increased efforts in the instrumental 
program for the coming year. 

The Orchestra, instead of disbanding after the Spring Concert, remained intact 
this year for the first time. It provided music for the commencement exercises, 
and acted as a laboratory for the advanced Conducting Class. In this manner 
the apprentice conductors were afforded an opportunity to conduct an orchestra 
of symphonic orchestration and size, and a chance to try in actual practice some 
of the theories they had been absorbing during the class periods. We, the staff, 
believe that this is the type of cooperative project that will go far in making 
Jordan one of the finest schools of its kind in the country. May we suggest that 
the orchestra might also prove invaluable to the students of orchestration by 
reading through some of the work done by these students. It is all too difficult to 
find a group who is willing to help the young orchestrator hear the things he has 
done. \Ve hope that Opus II will be able to point with pride to the fact that this 
hope has been realized. We also hope to be able to point with pride to a rejuve- 
nated Band next year. Mr. Munger, and a few of the faithful, labored long and 
hard this year trying to build a Conservatory Band of the caliber that the school 
deserves, but to no avail. As the large Chorus serves as a training group for the 
Choir, so might the Band and a Sight-Reading Orchestra serve as training groups 
for the Conservatory Symphony. Can we, the students of Jordan, afford to 
neglect an organization potentially so fine? You will answer that question next 
year when rehearsals of the Conservatory Band begin. We hope you will show 
that you are really interested in making the Band an organization of equal quality 
with the Orchestra. 




During the nerve-wracking few minutes of suspended silence prior to the 
Christmas broadcast, the orchestra was duly lectured by Mr. Sevitzky as to the 
value and importance of complete silence (to eliminate the possibility of a rain 
of mutes, inharmonic chair squeakings, and other noises not to be broadcast.) 
Finally silence was achieved. The announcer kept calling the time at different 
intervals like an executioner awaiting his victim. Mr. Sevitzky was sitting on the 
edge of the podium, listening, and waiting; the silence was suddenly cut by the 
clatter as of falling wood. Maestro had dropped his baton! 

Remember when the orchestra was told to read Pushkin's story of Russian 
and Ludmilla? Mr. S. said he was going to choose the guiltiest looking member 
to tell the story. A "Grand Pause" ensued; then Mr. S. chose . . . one of the most 
innocent and self-effacing members of the cello section, who promptly recited an 
excellent condensed version of the story in three minutes. 

How about the time when we all heard the big, burly, regular breathing of a 
single string bass in the back of the room? You remember. It was the Maestro 
himself playing the bass viol for the first time with our orchestra. Didn't he look 
contented and comfortable? Zoom, zoom. And by the way, does he know his stuff 
when it comes to the bass-fiddle! 

And there's Zawisza's comment of "What's the idea?" when someone plays 
badly. And if it's even worse than just bad, he usually offers, "Oi, oi, oi!" 

What about the time when a certain member of the brass family insisted on 
playing a series of indigo notes and was sure that it was correct. Wasn't he 
chagrined when he discovered that he was playing the wrong movement of Schu- 
mann's Fourth? 

And the priceless comment of Mr. Zawisza when Art Schiller drove his bass 
viol right through a grand pause. "You don't belong to the Musicians' Union, do 

And the time when Mr. Z. told the woodwinds to play a certain passage de- 
tache. They got the idea though, as did the violins when he instructed them to 
breathe at the end of a certain phrase. 

Of course there's always the clarinetist who forgets and plays an A-clarinet 
part on B-flat instrument, or vice versa. Or the horn player who makes the wrong 
transposition. We must admit, though, that these foolish things don't happen as 
frequently as they once did. Could it be that we're improving? 

Were you there the evening that a certain sweet thing entered rehearsal twenty 
minutes late, and when questioned by Mr. Sevitzky for a reason, said "I forgot 
where I left my violin." Tsk, tsk. And we always thought you were inseparable. 

Always good for a laugh is the little private feud between Jean Graham and 
Mr. Zawisza. Someone has described it like this: 

"You tickle me," He did not tickle her 

She said to him. Of that he was sure 

(Jean was talking to Mr. Zawisza.) There was no doubt but that he was sincere. 

The class giggled with glee How did it start? 

But Zawisza was grim He'd just made some remark 

And Jean looked like Mona Lisa. All the woodwinds he had been scolding. 

The room was static — But we all realize 

Not a scnle chromatic That he has to chastise 

Quisered in that atmosphere. For 'tis future musicians he's molding. 

Second Moi/ement: -flndtanie ^antalfiU 


He orders the orchestra Hbrarian to pass out the parts of Beethoven's "Third", 
he mounts the podium, and, with nothing more sonorous than a httle stick, he 
draws the music from an instrument composite of men and material. With this, 
music's most protean instrument at his command, the orchestral conductor stands 
in a position of peculiar eminence in the musical world. He is courted by all vari- 
eties of music lovers and professionals all the way from the beginning piano pupil 
after an autograph to the accomplished composer who would like to hear with his 
fleshly organs what has already impressed itself upon his inner ear. Between these 
are the social butterflies after attractions for their parties, soloists looking for en- 
gagements, orchestra members worried about their jobs and hosts of others on im- 
portant or annoying missions. And it's all done with a little stick. Even the stick 
is dispensed with by some of the topnotchers who rely on nothing more than their 
own beautiful hands and an assortment of facial expressions. 

It is hardly any wonder that really fine conductors are held in high esteem, for 
the requirements of the work are so great and so varied that a combination of all 
the necessary qualities in one man is an occurrence of rarity. To begin with, the 
elements of personality that tend to make one man a good leader of others are 
not necessarily associated with musical ability. As a matter of fact dynamic, mag- 
netic persons are not commonly reflective and scholarly. On the other hand, mu- 
sical geni are often endowed with slightly less magnetism than would pick up a 
carpet tack. But effective conducting is impossible unless the man with the stick 
has practically "everything"; great personal magnetism because a musical per- 
formance must be a vital, vivid thing of which certain elements have to be com- 
municated to the orchestra in the white heat of performance; command of lan- 
guage, because the broader aspects of a large work have to be explained and made 
vitally interesting to the men at rehearsals; and it goes without saying that the 
level of musicianship displayed in all decisions must be such as to earn the respect 
of a group of from 80 to 120 men who are specialists and thoroughly acquainted 
with literature and the work of the best interpreters. Beyond this there is the 
consideration, possibly irrelevant but, even so, of considerable importance, that 
audiences like to have conductors that are interesting to watch. 

The conductor hasn't always been the power that he is today, nor has he always 
used the little stick. His present eminence is a comparatively recent development. 
Although the current ascendancy is not of long standing, conductors of one kind 
or another have directed ensemble music after one manner or another for a mat- 
ter of about five hundred years. From the beginning it must have been clear that 
a group of more than a dozen musicians scattered about a room encountered 
difficulties in the matter of synchronization, even when each of them played cor- 
rectly. If the less competent participants added indiscretions, confusion was in- 
evitable. It would be a safe guess that the resulting discussions and placings of 
blame were not always conducted with dispatch, with careful regard for the 
amenities, to the satisfaction of everyone concerned, and without complete col- 
lapse of the rehearsal. 

The division of labor now maintained between a conductor and his men gives 
the former the spectacular and the latter the sonorous part of the task of enter- 
taining the public. Although some conductors sing, some shout, some hit their 
desks with their sticks; although some concertmasters seem to make more than a 
necessary visible demonstration of their oneness with the score, this division is 

generally accepted and the public is quick to resent excessive violations of the 

There have been many methods employed by conductors to make themselves 
heard, previous to the more modern developments which have led to silent or 
pantomime directing. Conducting from the harpsichord, organ or piano was wide- 
ly practiced up to the time of Beethoven. The conductor, generally the composer 
as well, would sit at the keyboard, facing the orchestra and reading from a 
figured bass, which was a sort of shorthand of the score, having the bass part 
written out in full and figures and cues from the other parts in sufficient number 
to give him a good idea of what ought to be going on at any time. This part was 
not indispensable to the performance so he was free to play what he could in the 
time he could take out of straight conducting, choosing to thump out the 
rhythm, fill in the harmony, or play the parts of those who were having particu- 
lar difficulty, according to the sonorous situation that confronted him. 

Other audible conductors were violinists. If the finest mvisician of a given group 
happened to be a violinist, he was generally conductor as well. There was prob- 
ably never any particular preference shown to violinists or harpsichordists in this 
respect. The man who was the best musician conducted and generally he played 
one of those two instruments. The modern concertmaster is a degenerated de- 
scendant of this species of director, retaining vestigial powers and responsibilities, 
particularly in respect to his own section. In chamber music groups the first 
violinist is still commonly regarded as the conductor. Whatever gesticulation he 
can conveniently add, after having satisfied the aural requirements of his position, 
is supposed to be so designed as to give the other members of the company an 
idea of what he thinks of their work and what he wants done abovit it. 

It was not uncommon to have both harpsichord and violin conductors within 
the same orchestra, especially if the group was large and there were two really 
fine musicians in it. While it might be argued that such a division of authority 
would prove an effective check upon arbitrary interpretation besides being evi- 
dence of a truly democratic attitude, it must have had disadvantages on the score 
of unanimity of impression. 

Those conductors who did not care to direct and play simultaneously found 
other means for making themselves heard. Tapping was the technique. Even 
here there were two schools of thought. First there were those who used small 
or moderately large sticks to tap upon their music desks. The other group might 
more properly be called thumpers. Their batons were large staves with which they 
beat out the rhythm on the floor. As we shall observe later, this latter practice had 
drawbacks other than the purely aesthetic. 

Occupational hazards were considerably reduced when railings were put around 
the back and sides of the podium. The baton itself is not a dangerous article to 
the conductor or the members of the orchestra, although, during rehearsals, it is 
sometimes thrown at the latter. The emotional release a leader attains by hurling 
the stick at one of his hirelings is undoubtedly gratifying and the experience is 
properly chastening to the player vmder fire. But the stick is not considered lethal. 
However, one musician of international fame met the end of his career through 
baton bite. In 1687 LuUy was conducting a Te Deum he had written upon the 
recovery of Louis XIV from a serious illness. He belonged to the staff -thumping 
school of conductors, and fervor or inattention misdirected one of his blows. At 
any rate the heavy baton struck his foot instead of the floor on what must have 
been a rather strong accent. An abscess developed and the incompetent physicians 
of the court failed to prevent the spread of an infection which resulted in his 
death. Though met in the pursuit of his art, to even the most philosophical ob- 
server, his consummation cannot fail to appear a bit inglorious. 

Richard Niessink 


So I left Dagwood on the kitchen table and hurried to catch the 8:0 5 trolley. 
It was Sunday and Spring, but as I glanced up at the skv it gave a low grumble 
of disgust, and glared back at me. Ignoring its threat I sped to the corner. 

There were the usual faces to be seen on the 8:0 5. The motorman, husky, six 
feet, and two hundred pounds, looked like a gangster, but spoke in a thin, squeaky 
voice in the coloratura range. The names of the streets all sounded alike the way 
he pronounced them. As he called "Yeasterrun" the sky made good its threat. 
The rain came down and so did the corners of everyone's mouths. 

I looked about me for some indoor amusement. The big, shamrocky police- 
man was all shined up — face, clothes, and heart. There was a dirty little man in 
front of me in overalls, whiskers, and a big grin. The car stopped and four 
young people in slacks leaped joyfully on. They were obviously going on a picnic. 
Half of the people on the car looked at them with jealousv and the other half 
with reproach. Neither the rain nor the looks given them dampened their spirits 
a bit. 

The car charged on. A Rival dog-food sign loomed before my eyes. It struck 
me as rather reflecting the atmosphere of the day. Two Cocker Spaniel puppies 
drooped their paws and long ears over the top of a box, and looked sorrowfully 
ovit at the rain. 

The streets by this time had become strangely deserted. I thought of school. 
Tomorrow I was to turn in the words for a school song. What would be a good 
title? Why not call it "Marching Through Jordan"? I remembered, with a groan, 
my music literature test. She had asked us to define program and absolute music. 
I wondered if "Sunrise on a Guinea-Pig Farm" is an example of program music. 
I thought of the question about impressionism and for some reason remembered 
the dream I had had the night before. My tongue had kept growing longer and 
longer until it reached far up into the sky. All at once I looked up at the tip of 
it and there was a kite. Then a small boy started crying because it was his kite 
that had become entangled with my tongue. Heh! The motorman called my 
street. So I hopped off. 

Maxine Lee Henderson 

ikitd Movement: Scltefio 


Sight-singing numbers, letters and loo in "The Madam's" classes . . . Remem- 
ber those "Ghost Stories" told by that certain dark-haired Dr. S ... If yovi 

see a streak of lightning, it is more than likely "Pa Pa", the dark shadow — Joe L. 
. . . Most familiar words in orchestra, "Good Evening", from "The Maestro" 
. . . One piece that will long be remembered — "Russian and Ludmilla" . . . "If 
you can't play it, play it any way!" — F. S. . . Familiar words around the Book 
Store, "Lesson ticket, please", and "Can you give me two nickels for a dime?" 
. . . Where have I heard "Hey! Kid!" and "What's the big idea!" . . . Most boring 

classes at Jordan — P y and Mr. N's . . . Two popular telephone numbers, 

LI. 7511 and RI. 4196 . . . String rehearsals every Thursday evening in Student 
Hall, another name — "the Barn" . . . Lists, on the bulletin board, of students 
who must "see Mr. Norris immediately" . . . "Have you got your Harmony for 
tomorrow?" — "May I see it?" . . . One who really works up a sweat — Mr. L. . . . 
Perfect A 440 — L. Z. . . . Three "Rhine Maidens" — Rosie, Annie, and Sue . . . 
Don't (or rather do) forget the "Melodrama" given by the Drama Department 
at the Odeon . . . 6:30 A. M. and "Morning Exercises" . . . "Ann" and her 
Bookkeeping . . . "What organization gave 18 concerts in the month of Febru- 
ary?" — "That's right, you're right, the choir" ... If you want to know anything, 
ask Wilma ... A memorable week, "Hell Week" for the Freshmen . . . One who 
really gets around, Eleanor . . . Friday, Saturday, and Sunday — date nights at the 
"Dorm" . . . Remember those orchestra rehearsals every afternoon and evening 
before a concert — "More fun!" . . . Drum sticks tapping everywhere when per- 
cussion class gets under way . . . Most wide-awake classes — 8 o'clocks . . . Sym- 
phony concerts on Friday afternoons and Saturday nights . . . Source themes to 
get for second semester English Composition . . . Impromptu speeches in Speech 
class . . . Words which are heard quite often, "I had better get some money from 
home pretty quick, or else" ... A celebrity in our midst — Sally Greene . . . 
2 o'clock almost every Friday afternoon — Yes, "Convocation" . . . Practice, 
practice and more practice . . . Three primary triads I, IV, and V . . . Wednesday 
night recitals at the World War Memorial . . . Formal Dances at the Riviera 
Club . . . Woodwind rehearsals on Wednesday afternoons with Mr. Z. . . . Com- 
posing folk dances for Eurhythmies . . . "Oh, I have a voice lesson this afternoon 
and I haven't practiced" . . . Playing Ping Pong in the basement of the 1116 
building . . . Cokes and cigarettes during intermission at orchestra rehearsals . . . 
With earphones up to our ears we listen to records in the Library . . . "Sing the 
subordinate theme of the second movement of Tschaikowsky's 4th Svmphony" . . . 


Fall began, school began, and love began, too. Ah, L'amour ... The last year's 
crop of Romeos and Juliets had fizzled out sadly enough, and come Autumn only 
one of the old guard was left, Hegg and Stouder. 

"Two Bouquets" to the Student Council for the Mixers at the first of school 
Ihe funny part is that they proved to be just that. The results: Wilson Barton- 
Meyers, Brown; Brown, Grafton; Miller, Harrod; Schafer, Patton; Caplineer' 
Bowers; Burgan, Zinkan; Jacobs, Mugee; Greene, Dawson; Burr, Kaiser; Norris' 
Anybody ... ' 

I'll bet you'd like to know: 

Who dreams of cute little blue pigs with red, yellow, and white spots> 

What vivacious httle blond had a secret crush on someone with the initials 

Bob hvans until 'Tats" Brown sang his way into her heart? 

Who still gets morose when he thinks of a certain blond in New York' 

Who keeps the machine out of orange juice the morning after? We could put in 

tomato juice, boys. ^ 

Who tickles Jean Graham besides Mr. Zawisza? 

Who wears knee-length red flannels? 

Who T. Norris' next heart-beat will be? (So would everyone else.) 

At the Xmas Dance Burr and Hughes were elected Euterpe and Apollo We 
thought that Apollo, the ladies' choice, was going steady. Oh, pardon, he 'feels 
)ust like Jeanne s big brother. 

We approve greatly of Mrs. Lautner as a "Glammer Gal". It sho' is becoming. 

If Mr. Michels looks slightly underfed at times don't blame the new Missus 

good cooT ' '"'^ ^''''^'' '''' ^'PP'" '° ^"°^ '^'' ^""''y '' ^ ""''Y 

mZIX'^I "''' ^""^"T ""T. "^r^' ''-''"^'"S '^'"'S^'- One would thmk that 
Music Studes are very changeable about their love life. 

The very walls of the buildings shook when that bee-oo-ti-ful romance of Hegg 

LedtT; d'f • T^'- ^' ^"?^ ^" ''' '^'' ^'-'PP-- O^her changes hap^ 

pencd fast and ftinous after that. Wilson and Barton romance is off again, on 
agam. Caphnger forsook Bowers for a Singing-soldier. Schafer seems to prefer 
dentists, likewise Graham and Copple. Seems strange to us, but then we hate to 
have teeth pulled . . Between the Dental School, the Law School, and Butler 
the gals seem to be doing O.K. 

A.-^^l n^^'P^"',"'^'''';"" '° '^' '^^°°' '^' ^'^^ond semester we have "Tackie" 
Mitchell, from the wild but not so woolly West. A garland or two to Foster for 
recognizing a gem when he sees one . . . first. 

The P.S.M gang threw a good one at the R.viera Club the last of Feb All the 
studes turned out and made merry. 

JL^rnw' ' ""''l'^ ""i ^^';[ '^"' ^'°" "^'^ '° ^"°^' ^'"""'"S ^^o"nd loose just 
he has ch Tw'^ ""l"^ kindly It's genial Tom Norris. The only trouble is that 
even hin"' ^^'^^^^ on hfe. Since being elected the Jordan Casanova it has 
g^ven him a complex. Astounding but true, he is now a tried and true "Woman 
Hater . Confidentially, tho', we think it's getting to be a strain. ... 

Talking about Woman Haters, what is the matter with the Campus Wit, Hog- 

gatt? We'll give a prize to the gal who can even partly crack that veneer. . . . 
If you get discouraged just remember that we told you and that he probably 
read this too. 

The Dorm had a Backwards Party. Wish all of you could have seen how funny 
Hughes, Foster, Kaiser, Vickery and the rest looked going instead of coming. 

That Funny Feelin' . . . 

To get up at 7:45 and dash madly to get to your 8:00 o'clock on time only 
to find a notice saying that the instructor will not meet his class that morn- 
ing. . . . 

To go to Orchestra rehearsal, slightly unprepared, to find that the first man in 
your section won't be there and you're on your own. 

To put your last nickle in the candy machine, pull the lever, and get a fig-bar, 
which you detest, instead of the chocolate kind you like so well. . . . 

The SAI Pledges had a Record-Dance at the Odeon. The decorations made the 
place look just like someone was having a dance. Usually the place looks awfully 
bare, but it looked right nice, gals. 

Nosegays to: 

The Choir and Ork for their swell progress this year. 
To the Studes and Faculty for their part in Civic's "Of Thee I Sing." 
For the good recitals and Convo's. 

To the Faculty for their interest in the projects of the students. 
To Lynne Wainwright for her hard work and the swell results. Good-luck 
to a swell fellow. 

Onions to: 

The G. Lammer Boy that's getting too big for his unmentionables. . . . 

The Gal that likes other gals' boy friends better than she does her own. . . . 

If you see Mrs. Woodie with a smile about this wide don't 

be amazed. You'd beam too if you were the grandmother of a new babv girl, 
bein' as how the other two are boys. 

Sally Greene, our favorite National Women's Table Tennis Champ, has added 
a certain Sinfonia pin to her trophies. Looks mighty purty there, Sally, say all 
your "honorary brothers." 

We're all glad to see Dotty Mvmger back with us again. Especially Charlie, or 
haven't you noticed? 

Ole Uncle Sam is borrowing several of the boys for a while. John Robbins had 
to leave in the middle of a semester, too bad. Ralph Emerson, K. Hughes, Bob 
Wilson have received offers for jobs in the Army, as have faculty members Miller, 
Young, and Phemister. We'll bet even money they take the job. 

We hate to break the gals' hearts but we're afraid that they might as well give 
up trying to make time with Herbie. He's got the bee on a cute lil Butler gal. 
The password, gals, was to call him Mr. Herbie. It seems that that was what won 
his heart. 

K K K held a surprise slumber party with Jeanadele Schaefer as guest of honor. 
Her only objection is that they held it at her house. 


The Staft has spared no pains in compihng this collection of unfamiliar defini- 
tions of familiar terms. We sincerely hope that this concise and invaluable dic- 
tionary will be of some assistance to the music students with whom this volume 
comes in contact. 

Accidental Something which is not on purpose. 

Accordion Commonly used as, "Accordion to the latest report — ." 

Al fine Sheriff of Marion County. 

Barcarolle A little dog biscuit. 

Bolero A short jacket. 

Canon A weapon effectively used on dictionary-compilers. 

Chorale Place to keep horses in. 

Clef Living place for Indians. 

Coda Commonly found in the nosa. 

Conductor Head man on a street-car. 

Conservatory A place for the cultivation of flowers. 

Cue We'll play the S ball in the corner pocket. 

Diva One who jumps from a diving board. 

Fife Three plus two, they tell me. 

Fine Stuff that when the judge says ten dollars of > ou faint. 

Forte At which life begins. 

Grave Abode of the "gone, but not forgotten." 

Half -note I. O. U. for fifty-cents. 

Hymn Things which, without a her, is useless. 

Idyl The Jordan Student's favorite exercise. 

Lydian Pertaining to a famous tattooed lady. 

Lyre What you should never call a fellow bigger than you are unless you are 

sure you can run fastest. 

Major The rank at which all draftees want to begin. 

Meter Applied to blondes, as "Boy, would I like to meter!" 


Metre One-third of the film company Metre-Goldwyn-Mayer. 

Minor One who digs. We don't mean jazz musicians. 

Molto A Japanese detective in the movies. 

Musette Heroine of La Boheme. 

Obbligato You arc this when you owe somebody something. 

Operetta "Number, please." 

Pitch In the spring a young man's fancy lightly turns to thoughts of this. 

Plain-song One which isn't fancy. 

Polonaise Goo usually applied to lettuce and such. 

Pour Aren't we all? 

Scherzo Meaning friglitencd, as "He was scherzo he couldn't move." 

Score If you don't know this, you'd better give up. 

Spinet What you do with flax. 

Suite Section of a hotel from which musicians are barred for obvious financial 


Tempo A place of worship. 

Tonic A kind of medicine. (Not that kind, boys.) 

Touch What you try to do to a friend if money from home is late. 

Trill What you get when you accidentally know the answers at final exam time. 

Triplet A short journey. 

Trombone Excellent food for a musical dog. 

Trumpet What you do to your partner's ace. 

Villanelle Extract used in cooking. 

7outtk Aioi^ement: Aiaeitoio 


Four national professional and honorary music and dramatic fraternities have 
chapters at the Conservatory. Election to membership in any one of them is 
properly regarded as an honor and depends upon definite standards of conduct 
and scholarship. They are recognized by the Conservatory as a vital force in the 
life of the students and of the school. These groups hold their business mectmgs 
and present their music programs at the Conservatory. 


Mu Phi Epsilon is a national music honor society for women which was 
founded November 13, 1903, with the purpose of advancing, promoting, and 
stimulating musicianship, scholarship, and friendship among music students. 

Mu Phi Epsilon has forty-eight active chapters in colleges and conservatories 
of the highest standing in the United States, and in addition, twenty-nine alumnae 
clubs in various cities. Kappa chapter at the Jordan Conservatory was granted 
its charter in November, 1906. 

Election for membership is made from the upper quarter of the junior, cenior, 
and graduate years, and is based on scholarship, performance, character, and 

Kappa chapter provides an annual scholarship for a year's study with an artist 
teacher in piano, organ, voice, violin, or cello. In addition to its regular monthly 
programs, the sorority sponsors a reception at the beginning of the school year 
for all women students and presents two public concerts each season. This year 
they included a program by active members in January and one in April by 
members of the Cincinnati Conservatory group. 

Margaret Duflf was president of the chapter for the current year, and members 
of Mu Phi Epsilon on the Jordan faculty include Mae Engle, Alice Harper, Marian 
Laut, Florence Lewis, Virginia Leyenberger, Isabelle Mossmaii, Harriet Payne, 
Imogene Pierson, Helen Louise Quig, Leone Kinder Rickman, Lucille Wagner, 
Frances Wishard, Dorothv Woods, Hazel Steele, and Lois Buskirk. 



* • f , f**\ 


ts f^ 


' " ■■■■■■Si 

First Row: Richard Or/an, E. II. joins, Alouzo E/ilson, llir^b McG/bciiy, Carl 
Dawson, ]. }. Albion, Rca Williams. 

Second Row: Pasqiialc Monfani, Franklin Taylor, B. F. Swarthout, Harold Wins- 
low, Edward Emery, Stanley Norris. 

Third Row: Waldo Eittcll, Howard Hanscom, John White, Sam Scott, Francis 
Fitzi^erald, Beldon Eeonard, Russell Paxton. 

Members not in picture — Gerald Bettcher, Gene Chenoweth, Richard Foster, Rus- 
sell Goucher, Robert GriflPey, Charles A. Henzie, Herbert Kaiser, Gilbert 
Kellberg, Henry A. Marshall, James W. Miers, Van J. Miller, William Moon, 
Raymond G. Oster, Roger Riley, Robert Shambaugh, Robert B. Shepard, 
Amos Smith, Vernon E. Spaulding, Mark F. Walker. 

Honorary Member — Edward Bailey Birge. 

It shall be the object and purpose of the fraternity: 
To advance the cause of music in America. 

To foster the mutual welfare and brotherhood of students of mvisic in Amer- 

To develop the truest fraternal spirit among its members. 
To encourage loyalty to the Alma Mater. 
To give recognition for outstanding worth in musical activity. 

Sinfonia was founded at the New England Conservatory of Music, Boston, 
Massachusetts, October 6, 1898, by Ossian E. Mills. Its seventy-two chapters 
comprise the largest men's musical fraternity in America. Alpha Sigma Chapter 
was installed at the Metropolitan School of Music, May 2 5, 1926. 


National Honorary Sorority in Music Education 


President Mildred Reimer 

Vice-President Myrtle Gleason 

Recording Secretary Charlotte Moore 

Corresponding Secretary Mary Flora Wilson 

Treasurer Helen Ferris 

Historian Jean Hegg 


1. To promote music education as a profession in America. 

2. To achieve a unity among music educators geographically separated. 

3. To overcome professional isolation. 

4. To bring about an expansion of service through closer relationship between 
schools of allied purposes and policies. 

5. To identify our fraternity with standards of approved musicianship and with 
professional goals of superior attainment. 

6. To befriend and assist the young teachers in our profession and to aid the needy 
student financially. 

7. To sponsor music enterprises in our school and our community and among 
the less privileged. 

8. To maintain worthy standards of ethical conduct both in our personal and in 
our professional lives. 

9. To foster loyalty to our Alma Mater. 

National Professional Music Fraternity 

Sigma Alpha Iota is the oldest national music fraternity for women. It was 
founded in the spring of 1903 by Elizabeth Campbell and Minnie Davis, faculty 
members of the University School of Music, Ann Arbor, Michigan. Sigma Alpha 
Iota is proud of its seventy-two active chapters established in the leading con- 
servatories, colleges, and universities throughout the United States. 

Believing that an organization can be of more service to its members and to 
the school by electing worthy undergraduates to membership, guiding them and 
assisting them to better efforts throughout their study, than to wait until the 
member has by her own efforts alone won recognition and then confer upon her 
an honorary membership in her senior year, Sigma Alpha Iota is now known as 
professional. In changing its corporate name from honorary to professional, Sigma 
Alpha Iota did not lower its standards for membership. Operating as a profes- 
sional organization demands professional ethics and professional attitude on the 
part of all members, including the undergraduate members. It also affords a 
closer and more helpful alliance with women in other professional fields. 

As the strength of the whole depends upon the strength of each individual, it 
is the purpose of Sigma Alpha Iota to have as members only girls of earnest pur- 
pose, high scholarship, high personal character and marked musical talent. It is the 
duty of the active members of Sigma Alpha Iota to make its name stand in the 
school and in the musical world for all that is dependable, gracious, fine, and 

The whole membership is inspired to greater efforts through close association 
with its national honorary members who are leading artists before the public. 
Such artists are: Rose Bampton, Lucrezia Bori, Kirsten Flagstad, Galli-Curci, 
Frieda Hempel, Myra Hess, Helen Jepson, Maria Jeritza, Lotte Lehmann, Lily 
Pons, Rosa Raisa, Elizabeth Rethberg, Mana-Zucca, Gladys Swarthout, and 
others, whose accomplishments are familiar to all. 

A Ring of Excellence is sometimes given by a chapter as the highest honor 
bestowed for excellence in scholarship and for service to the chapter." An Honor 
Seal is attached to an honor certificate presented to the senior in each chapter 
who graduates with the highest scholastic average. 

Zeta Chapter was established at Arthur Jordan Conservatory of Music in 1911. 
The chapter sponsors a $100 scholarship each year and holds monthly musicales 
to develop poise and to increase knowledge of musical literature and program 
building. Members of the chapter are prominently engaged in activities of the 
Indiana Federation of Music Clubs, the Indianapolis Matinee Musicale, the Har- 
monie Clubs, the Indianapolis Symphony Orchestra, and various other organiza- 

The object of Sigma Alpha Iota is to form bodies of representative women 
who shall by their influence and musical interest uphold the highest ideals for a 
musical education; raise the standards of productive musical work among women 
students of colleges, conservatories and universities; further the interest and de- 
velopment of music in America, and assist in the development of a stronger 
bond of musical interest and understanding between foreign countries and 






Betty Bates 

Music Ed., Piano, Indianapolis, ZTA, Chorus, 
Piano Ensemble. 

Robert H. Burford 

Music Ed., Organ, Indianapolis, Butler Choir ac- 
companist, Jordan Workshop organist. 

Melvin Crafton 

Music Ed., Trumpet, Flat Rock, Indiana, Jordan 

Vernon Elbrecht 

Music Ed., Bass Viol, Indianapolis, 4>MA, KK*, 
Conservatory Orchestra, Philharmonic Choir, Mes- 
siah 1939, String Ensemble. 

Donald Holzhausen 

Music Ed., Trombone, Indianapolis, Opus I, Con- 
servatory Orchestra, Band, and Brass Choir. 

Mary Louise Houk 
Harp, IndianapoUs, 2AI, Harp Ensemble, Student 
Council '40 & '41, Conservatory Orchestra. 

Verne Jacobs 

Music Ed., Clarinet, Indianapolis, <I>MA, Opus I, 
Conservatory Orchestra, Clarinet Quartette, Band, 
Messiah 193 9, 1940. 

Clara Reese Kirk 

Music Ed., Piano, Indianapolis, AKA, Two-Piano 
Ensemble, Official colored state accompanist. 

Thomas Norris 

Music Ed., Voice, Logansport, Indiana, Opus I, 
Philharmonic Choir, Opera Ensemble, Student 
Council 1939, 1940. 

Robert Shambaugh 

Music Ed., Violin, Ft. Wayne, Indiana, <i>MA, 
KK4', Opus I, Conservatory Orchestra, Philhar- 
monic Choir, Drum Major Butler Band, Messiah 
1939, 1940, String Ensemble. 

Orville E. Stone 

Music Ed., Trombone, Indianapolis, Conservatory 
Band, Conservatory Orchestra, Messiah 1939, 
1940, Brass Choir. 

WiNSLOw Wise 

Music Ed., Trumpet, Indianapolis, Conservatory 
Band, Conservatory Orchestra, Brass Choir. 


Robert Roush 
Music Ed., Violin, South Bend, Indiana, Conservatory Orchestra. 

Richard Foster 
Music Ed., Oboe, Huntington, Indiana, $MA, Conservatory Orchestra, Wood- 
wind Ensemble and Quintet. 

Herbert Neil Kaiser 
Music Ed., Violin, Ft. Wayne, Indiana, 4>]MA, Conservatory Orchestra, Philhar- 
monic Choir, String Ensemble. 

Mary Reynolds 
Violin, New Paris, Indiana, Conservatory Orchestra, String Quartet 1959, Mes- 
siah 1939, 1940. 

Daisy Park 
Piano, Tsing'tso, China, Philharmonic Choir. 

Joseph E. Zinkan 

Music Ed., Trumpet, Indianapolis, President Student Council 1940, Conservatory 






LuELLA Catherine Callis 

Music Ed., Violin, Indianapolis, <J>2M, M<I>E, 
Conservatory Orchestra. 

Juanita Fay Copple 

Music Ed., Piano, Logansport, Indiana, 2AI, 
Jordan Chorus. 

Carl A. Dawson 

Music Ed., Composition, Violin, Indianapo- 
lis, <i>MA, President Student Council 1939, 
Opus I, Conservatory Orchestra, Conserva- 
tory Choir. 

Ralph Emerson 

Music Ed., Trumpet, Virginia, Minn., $MA, 
Conservatory Orchestra and Band, Brass 

Helen Florence Ferris 

Music Ed., Piano, Indianapohs, <J>2M, Piano 

F. David Hoagland 
Music Ed., Baritone Horn, Swazee, Ind 

Hugh Mason 

Mvisic Ed., Voice, Indianapolis, •I'MA, But< 
Icr Glee Club 193 2. 

Flora Kathryn McCain 

Violin, Delphi, Ind., 2AI, Student Council 
1939, String Quartet, Philharmonic Choir, 
Conservatory Orchestra, Messiah 19 3 9, 

Marianne Orrid 
Music Ed., Piano, Indianapolis. 

Louis Rutan 

Music Ed., Trumpet, Indianapolis, <I>MA, 
KK^, Opus I, Student Council 193 8, Brass 

Samuel H. Scott 

Music Ed., Clarinet, Indianapolis, <J>MA, 
Opus I, Student Council 1939, Woodwind 
Quintette 193 8, 1939, Conservatory Or- 
chestra and Band, Messiah 1939, 1940, Stu- 
dent Manager of Conservatory Orchestra 
1940, Asst. Instructor of clarinet 193 9, 

Howard Earle Stivers 

Music Ed., Trumpet, Lawrence, Indiana, 
KK^, B man. 


Joseph Baumbaugh 
Music Ed., Trumpet, Marion, Indiana. 

Edith Hayes Carter 
Piano, Frankfort, Ky. 

Lucille Cook 
Music Ed., Piano, Crawfordsville, Indiana. 

Mary Lee Gabbert 
Music Ed., Piano, Grand View, Indiana. 

Lillian Porter 
Music Ed., Harp, Crawfordsville, Indiana. 

Eva Schwartz 
Music Ed., Voice, Castleton, Indiana. 

Ivan Warble 
Music Ed., Violin, Rome City, Indiana. 

Anna Mae Willis 
Radio Certificate, Greenfield, Indiana. 



Laverne Blake 
Music Ed., Louisville, Kentucky. 

Fannie Cutsinger 
Music Ed., Dresden, Ohio. 

Lois LeSaulnier Miers 
Music Ed., Knightstown, Indiana. 

Adelaide Riley 
Music Ed., Indianapolis, Indiana. 

LiNA Baldauf Knight 
Music Ed., Louisville, Kentucky. 

Cotiiplimeiits of 


1221 North Pennsylvania 

Phone. RI. 1200 





Traction Terminal Bldg. 
104 N. Illinois Street RI. 3568 

A Friend of Jordan Conservatory 


1102 North Pennsylvania St. 

Drive-In Service 

Best Place for a Quick Lunch — Day or Night 


Well-Balanced, Healthful Food 

Chop Suey, Chow Mein and American Food 


Air-Conditioned Dining Room 

3815 N. Illinois St. WA. 0394 

"Eat the Wright Way" 

95 N. Pennsylvania St. 
R. J. (Bob) Wright 
Riley 03 26 Indianapolis, Ind. 









(Bmint 0\ti Cnsli^t) 




225 N. New Jersey St. Indianapolis 

Printers to 




and the 


68 Years of Fair Dealing 




n I 

Where the student 
and profe&sionat meet 

Jf'hen You Think of Music, You Just Naturally 
Think of Pearson's, Home of 



Including the 

World's Costliest Piano 

World's Oldest Piano Name 

Pianos by the World's Largest Piano Manufacturer 


Radio — Phonograph — Combinations 


On Convenient Street Floor Mezzanine 


CONN Woodwinds ROTH Viohns 

Famous Names, Choice of the Artist 


And Fair Trade-in Allowances 

128-130 N. PENN LL 5513 

The first taste of an ice-cold 
Coca-Cola is always a pleasant 
surprise. And so is the next . . . 
and the next — Full of life and 
sparkle, it's a satisfying taste . . 

"Delicious and Refreshing" 


Phone RI. 1783 


Quality Work and Service 

116 East 13th Street 
Indianapolis, Ind. 

LI. 0070 

Permanent Waving 

Florence Beauty Shop 

li4 E. 13th St. 

All Kinds of Beauty Service 


Parties, Clubs, Etc. 

Call RI. 0791 


1309 North Pennsylvania 

A Feiv Steps Beloiv Street Level 

A Quiet, Friendly Place to Eat Good Food 





LI. 6319 


If here Musicians Meet 


SEASON 1941-1942 


November 3, 8:30 P. M. 

Barber of Seville 

Music Shoppe 

December 2, 8:30 P. M. 

Original Ballet Russe 

January 18, 3:00 P. M. 

Gregor Piatigorsky, 'cellist 


February 16, 8:30 P.M. 

Vladimir Horowitz, pianist 

Standard Sheet Music Octavo Music 

March 1, 3:00 P.M. 

Dorothy Maynor, soprano 

Season Tickets, $5.50, $6.60, $8.80, 
$11.00, $13.20. 

33 Monument Circle — Room 201 
Indianapolis, Indiana 

For further information — Call Lincoln 
8921, or Address 

If'e .-Ire Glad As Alziays 

Martens Concerts, Inc., 

To Please You 

33 Monument Circle Indianapolis 

Riding Accessories .... 

Most Complete Line in State, Including 
the increasingly popular Western Outfits 







Jacobs Outdoor Shop 

Meridian and Maryland Sts. 

9 E. Ohio St. (Board of Trade Bldg.) 

Riley 5321 

Colonial Tea Room 

Phone: Lincoln 4224 

1433 North Pennsylvania St. 

"Everything for the Sportsman" 

Catering to Parties 

The Sportsman's Store 

Luncheons— 11:30 to 1:30 


Dinners — 5:30 to 7:30 

126 N. Pennsylvania St. 

RI. 0763 Indianapolis 



Generations of Baldwin craftsmen have dedicated their experience 
and skill to the creation of a piano which will satisfy the exacting 
demands of the great artists. And, which is more important, to the 
creation of a piano which will clothe the simple melodies of the 
less accomplished pianist in a wealth of colorful tone. Talents are 
encouraged and developed — fond hopes and cherished ambitions 
fully realized in the ownership of the Baldwin — 
Today's Greatest Piano. 


A Model for Every Home and Purse 

'M'heii P 

are Better Baldiciu Hill Build Them' 


44 S. Pennsylvania St. MArket 1431 

The .Arthur Jordan Causeri'atory uses and endorses Baldzvin Pianos 

M / II I